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W tth the Qompliments of 

Worcester Reed Warner 



HILLHOLM 

Tarrytown 
New York 








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Selections 

from 

ORIENTAL 
OBJECTS OF ART 

(follected by 

WORCESTER REED WARNER 







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Chinese, 'JMing 

Rare example of Mrisro pottery, decorated in turquoise and aubergine glaze. 
The decoration was drawn in the clay with defining edges, or outlines, and then 
fired. Subsequently the cloisonnes thus formed were filled with colored lead 
glazes and fired again in a kiln of comparatively low heat. This piece is 
exceptional for its velvety surface and the rich lapis blue of the background in 
contrast with the other colors introduced. 

S[ze: 15^ inches high 

★ 



Selections 

from 

ORIENTAL 
OBJECTS OF ART 

Qollected by 

WORCESTER REED WARNER 

MOST OF WHICH HAVE BEEN 
PRESENTED TO THE 

CLEVELAND MUSEUM 
OF ART 




Tarrytown, New York 
1921 



Copyrighted, 1921 , by 
Worcester Reed Warner 



T) e s i g n e d , £ngra-ved and ‘Printed by Bartlett Ore Press, York £ ‘ ^ P 



FO^I(EW 0‘J(^ 




Oriental art, which was once the cult 
of the few, has recently come to be the interest of 
the many. 

Fine examples of it are now to be found 
not only in museums but also in the hands of 
numerous private collectors around the world. 

The illustrations presented herewith are of 
certain type-pieces from such a collection. 

Connoisseurs will probably see in them, as 
does the collector himself, a development in 
photography and presswork more nearly worthy 
of the art which produced the originals than any 
previous efforts of the kind. 

It is therefore hoped that a double interest 
may attach to this group of selected specimen 
pieces, all of which, except those marked with a 
star (★) as still belonging to the collector, have been 
presented by him to the Cleveland Museum of Art. 

WORCESTER REED WARNER 



Tarrytown, York 

DECEMBER 

1921 









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DATES OF DYNASTIES 



<iAs adopted by the Td>epartment of Oidental <zArt of the <:y^etropolitan <dhfCuseum 



Chou Dynasty 

I 122-255 B.C. 

Han Dynasty 

206 B.C.- 2 20 A.D. 



Wei Dynasty 

220-265 

Six Dynasties 

265-618 A.D. 

T’ang Dynasty 

6 I 8 - 906 A.D. 

Sung Dynasty 

960 - I 2 80 A.D. 



Ming Dynasty 

1368-1 644 A.D. 



Chtng Dynasty 

I 644-1 912 A.D. 

K’anG-HSI, 1662-1722 A.D. 
Yung Cheng, 1723-1735 a.d. 
Ch’ien-lung, 1736-1795 A.D. 



JAPANESE EPOCHS 
‘Referred to 



Kara 

About 700-800 A.D. 




Fuji WARA 

About 900-1200 A.D. 




Kamakura 

About 1200-1400 A.D. 





Tokugawa 

About 1700-1850 A.D. 



POTTERY AND PORCELAINS 

in the 

WORCESTER REED WARNER 
COLLECTION 




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Pottery AND PoRCELAii<rs 




Ceramics, which term includes all that belongs to the fictile 
arts, including pottery and poreelain, were, from the earliest ages, 
connected with Chinese ceremonies, while in the burial rites, from 
the beginning of recorded history, they took the plaee of bronze. 
Pottery is in existence which was made in the Han Dynasty but 
the earliest porcelain known, a flower vase in the Peking Museum, 
is marked with the name of the reign of Shih T sung (a. d. 9 5 4-9 59) 
though probably a still earlier date may be assigned to the art of 
making porcelain. At all events, for long centuries China was the 
only country in which porcelain, or translucent ceramie, was made; 
and its very name, derived {rom porcellana, or eowry shell, denotes 
the esteem, due to its mythieal character, in which it was held. A 
few pieees are known to us which date from the Sung Dynasty, the 
period of the earliest monoehrome wares, but the majority are either 
of the Ming Dynasty or of the last reigning dynasty, the Ch’ing or 
Manchu, when the best of the well-known ‘‘blue and white” was 
made, when every kind of deeorated ware was produced in perfection 
and when the potter’s art reached its highest point as regards technique. 
Roughly speaking, Chinese porcelains may be divided into three 
groups, varying in the method of their color decoration. There is 
the first, in which a colored glaze is employed ; the second, in 
which the colors are applied under the glaze; and the third, in which 
the colors are applied over the glaze and are subsequently dissolved 
by firing. In the third of these groups belong most of the examples 
here illustrated. 



Chinese 






Blue and white ware decorated 
with four medallions, illustrating quasi- 
historical episodes. The beautiful clear 
soft white of the background is of equal 
interest and importance with the strong 
Mohammedan blue decoration. 



Size : i i ^ inches high 



Chinese 



Pottery bottle with typical auber- 
gine glaze. Against a purple -black 
ground are the figures of eight sages 
in various colors of lead glaze, within 
cloisonne areas. Above, around the 
neck, are cloud forms. The bottom is 
decorated with an elaborate lotus pat- 
tern in five colors. 



Size: 14^ inches high 





Chinese 

K' ang-hsi 

Polychrome porcelain decorated 
with the flowers of the season in red, 
orange, yellow, green and violet. The 
white glaze, used as a background and 
foil for the brilliant colors, is not sur- 
passed in brilliancy or richness by them. 
The shape is classic and the two, as a 
pair, constitute a choice example of five- 
color porcelain. 

Size : 1 2 ^ inches high 

★ 



[ 22 ] 



Chinese 

K' ang-hsi 

Pair of tall vases of Imari type, 
gourd in shape, decorated with flower 
sprays in full color and gold on a white 
ground. These vases are exceptionally 
large and decorative, with brilliant 
colors and blue-white ground. 



Size: 28^ inches high 



Chinese 

K" ang-hsi and Qh' ten -lung 

Coral-red porcelain of the K’ang- 
hsi and Ch’ien-lung periods. The two 
plates of deep coral-red, with dragon 
and cloud pattern in gold, are of the 
K’ang-hsi period (1662-1722), The 
gourd shaped vase, of lighter coral-red, 
with conventionalized flower, cloud, 
and scroll pattern and the character 
shou^ is of the Ch’ien-lung period (1736- 
1795). The quality of the deep coral- 
red and the pure gold is notably fine. 
These are palace-pieces, as designated 
by the characters on the foot of each. 
They belonged to the collection of 
Mr. Arbuthnot and passed through 
the hands of only one other collector 
to the present owner. 



Sizes : Plates, 9 inches in diameter; vase, 1 2 inches high 



Chinese 



YungCheng 



F iVE-coLOR VASE, decoritcd with red 
and green dragons in pursuit of the 
flaming jewel of life, with four shou 
on the neck and phcenix birds around 
an intermediate band. On the lower 
part of the base it is dated as having 
been made in the Chia Ch’ing Dynasty 
(1522-1566). Two handles of elephants’ 
heads and rings are modeled in relief 
on the shoulders. 



Size: 25J4 inches high; inches in diameter 



Chinese 

Qh' ien- lung 



Blue and white soft- paste jar. 
The bold, well -conceived design in 
rich blue on the white, crackled surface 
places this piece as an important one of 
its period — the frail work of an expert 
potter. 

Size: 7^^ inches high 



i 30 ] 



■ Chinese 

Qh' ien- lung 

Poly CHROME PORCELAIN of the Ch’icn- 
lung period (1736-1795). This is one 
of the most important examples of 
the rare “nine -peach” vase extant. 
The quality of the porcelain is particu- 
larly noteworthy, as is also the superior 
technique of the design. The decoration 
is in surface enamel in five colors. A 
unique feature is the introduction of 
five bats symbolizing the Five Blessings. 
The design as a whole typifies complete 
wedded happiness. Such pieces were 
made for the imperial household and 
often served as anniversary gifts. 



Size : 21 inches high 



Chinese 

Qh' ien-lung 

Brilliant polychrome porcelain 
decorated with flowers in enamel colors. 
The delicate character and rich orna- 
mentation of this vase charm the eye 
and characterize it as a “mille fleur” 
specimen of unsurpassed beauty. 



Size : 5 inches high 



Chinese 

Qh' ien- lung 

M ONOCHROME PORCELAIN of brilliant 
clair-de-lune glaze. An all-over pattern 
of clouds and flying bats, modeled 
under the glaze in low relief, gives to 
the surface a soft vibrating quality of 
great beauty. It has the ephemeral 
character of moonlight moulded into 
form by a master potter’s hand. 



Size : 8 ^ inches high 



Chinese 

Han 



Very ancient bronze-colored pot- 
tery VESSEL, the form of which was 
derived from the silk cocoon. The 
vessel is exceedingly light in weight 
and the surface is so metallic in ap- 
pearance that the substance is easily 
mistaken for bronze. The remarkable 
modeling characterizes this as a piece 
ot great importance. Similar pieces in 
other collections are attributed to the 
Chou Period. 

Size: io inches high 



[ 38 ] 




39 



Chinese 

T' ang 

Head of a lohan or buddhist saint. 
This example of pottery sculpture is 
among the rarest of early Chinese 
ceramics. It belonged to one of a 
group of sixteen over-life-size pottery 
figures of as many Lohans or per- 
fected disciples of Buddha, each 
modeled with admirable technique 
and covered with typical T’ang glazes 
in the “egg and spinach” coloring. 

Ten are known to exist besides frag- 
ments of others, all found in caves 
of a mountain near Ichou, southwest of 
Peking. 

Size: F?'om chin to top of head, i 2 inches high 



[ 40 ] 




[ 41 ] 



Chinese 

T' ang 

Tomb pottery in the form of an 
“Earth Spirit”, covered with green 
and orange glaze, producing a mottled 
effect, while here and there unglazed 
areas, such as the face and ears, show 
the pinkish color of the clay from 
which the figure was made. These 
“Earth Spirits” were placed in mortuary 
chambers and supposedly guarded the 
soul of the deceased. 

Size : 26 inches high 



[ 42 I 



Chinese 



Sung 



Pair of taoist tomb jars covered 
with thin celadon glaze and decorated 
with separately modeled figures and 
symbols, all applied like slip, and subse- 
quently fired. Both jars are in a won- 
derful state of preservation; not one of 
the little figures, animals, dragons, cloud 
forms,birds or mirrors has been injured. 
The ornamentation is of the typical 
“male and female” character. 



Size: 39)4 inches high 



[ 44 ] 




( 45 ] 




Chinese 



T’zu CHOU WARE. Creamy glaze over 
a raised decoration of dragon medal- 
lions, separated by conventionalized 
flower sprays. This tripod is interest- 
ing by reason of its very thin glaze, 
as well as its color and the reticulated 
ornament above the shoulder. 

Size; inches high 



1 46 ] 




[ 47 ] 



K OREAN 






orai T^eriod 



W INE POT of a beautiful blue-green 
color, with medallion ornament inlaid 
with black and white paste under a 
smooth glaze. Fine specimen of this, 
the golden period of Korean pottery. 



Size: 8 itiches high 







[ 49 ] 




K OREAN 

T^eriod 

Pottery ewer with bulbous body, 
short neck and large mouth, delicate 
spout and flat handle. The eye on the 
cover and a corresponding one on 
the handle were for the purpose of 
passing a cord through, thus acting 
as a hinge. 

This white porcelaneous ewer of 
bluish tone in nearly perfect condition 
is a rare specimen from an early period. 

Size: 9^ inches high 






oral 



[ 50 1 




[ 5 > ] 




Korean 

K^rai T^eriod 

Toilet box of porcelaneous ware dec- 
orated with inlaid ornament in black 
and white, under a gray-green glaze. 
Five loose boxes inside. 



Size : 7 ^ inches 



[ 52 ] 



JADES AND CRYSTALS 

in the 

WORCESTER REED WARNER 
COLLECTION 




Jades and Crystals 




Jades and crystals, as fashioned by the Chinese, have 
an intimate connection with Bronzes not only in their similarity 
of use but in their design and form, fade, it is true, does not lend 
itself as readily as bronze to decorative ornamentation but it has 
the indefinable charm due to its natural coloring. It was ranked 
by the Chinese as the most precious of stones and was endowed by 
them with many magical and curative properties. It appeals to the 
sense of touch as well as that of sight and fulfills the Chinese dictum 
that a work of art should be admirable in both form and texture. 
Two distinct stones are by this people classed as jades, the first being 
nephrite^ or kidney stone, and the second jadeite^ or emerald green 
jade, known to the Chinese as yei-tsdn. It was used by them for 
precious vessels of all kinds, for insignia of rank worn by the 
Emperor and feudal princes, for votive offerings and for presents. 
Nor is jade the only material on which Chinese lapidaries exercise 
their skill and which they work on their treadle-benches and with 
their primitive-looking lap wheels and drills. The various quartz 
stones and rock crystal, for instance, the former with their rich tones, 
the latter with its crystalline purity, are employed by them and held 
in almost as much honor as the true jade. 



[ 55 ] 



Chinese 

Qh' ien-lung 

K ORO of green jade of the color and 
variety most favored by collectors. The 
cover and body of this incense burner 
were carved from one large boulder of 
exceptionally uniform color. Here and 
there clear spots of emerald-like quality 
enhance the intrinsic value and the 
artistic excellence of the object. The 
carving of the two decorative bands in 
low relief and of the two lions and the 
elephant-headed handles in full relief 
has crispness and spontaneity, though 
the surface has been smoothed until it 
resembles modeling in plastic material 
rather than difficult cutting and polish- 
ing in one of the hardest of stones. 

Size: lo inches high 

★ 



1 56 1 



Chinese 

Ch’ ien-lung 

Pair of jade screens cut from one 
piece of unusual size and perfection 
and expertly carved with landscapes and 
legendary subjects. These screens are 
of extreme elegance and were secured 
from the Imperial Palace. 

Size: 12 inches high, 9^^ inches wide 

★ 



[ 58 J 



Chinese 

Ch' ien-lung 

Incense set of green jade. The clear 
gem-like color of the perforated orna- 
ment is comparable to the finest emer- 
ald green. The artificer planned the use 
of his material in such a way that the 
ornament, which is in relief, stands out 
in its clear emerald-like quality against 
the opaque lighter ground of the body 
of the vase. 

The white jade bases enhance the 
brilliancy of the objects. 

Size : Koro, inches high; vase, 8^ inches high 

★ 



t ] 



Ch INESE 

Ch'ing 

Mandarin necklace of perforated 
white jade beads embellished with per- 
forated coral beads and ornaments of 
green jade. 

This necklace is composed of io8 
beads and is intended to remind the 
wearer of the glory of his native land. 
Seventy-two are supposed to represent 
as many stones, minerals and metals 
native to China and the remaining 
36 represent as many constellations 
and planets which shed their rays on 
the country. 

Short strings of smaller beads are 
supposed to impress upon the mind of 
the wearer the reverence he owes to 
his ancestors and his allegiance to the 
imperial throne of his country. 

The illustration is about one-half size 



★ 



[ 62 ] 








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Chinese 

Qh'ing 

Some belt buckles of jade, carnelian, 
coral and semi-precious stones. As an 
occidental lavishes money on jewelry, 
so did the oriental on belt buckles, as 
required by his sumptuary laws. 

The dragon, in realistic and conven- 
tionalized form, is the favorite design 
for these clasps. 

The entire collection comprises 
many such, in great variety as well 
as number. 

Size : Averages 4 inches long 

★ 



[ 64 ] 



Chinese 

The JADE-SPEARED DISK in the Center 
is light green in color, with varying 
tones of brown and russet. It was used 
in sacrificing to the sun, moon and stars. 
Sung Dynasty. 

The square jade incense burner at 
the left is mottled gray-brown, with 
dark browns and greens on the inside. 
The small cup with handles is decora- 
ted with the millet or “grain” pattern. 
Both are assigned to the Sung Dynasty. 

The jade bowl is light green with 
brownish cast and is delicately carved 
inside and out. This fine piece is of the 
Ch’ing Dynasty. 

Size: Speared disk, i i ^/g/i/incenseburner, 2 

inches high; cup, i inches across; bowl, 2 ^ inches high 



[ 66 ] 




[ 67 ] 



Chinese 

(tXing 

Mi NiATURE MOUNTAIN carvcd from 
a piece ot Han jade discolored by cen- 
turies oi burial. i\n evening scene is 
suggested by the cowherd on his way 
home and the man sitting in his door- 
way. The deep shadows under the trees 
are realistically rendered. 

Size: 10x4^ inches 



[ 68 ] 







[ 69 ] 



Chinese 

(^/i ' ien-lung 

Jade gong in the form of a carp. The 
color is light green, with spots of 
emerald - green and white; a single 
brown spot shows at the tip of the 
hsh’s tail. In ancient times jade fish 
forms were probably hung in the 
coffin but later the religious signifi- 
cance was entirely lost and small 
forms were used as girdle pendants 
or ornaments. 

Size: inches from tip of tail to tip of nose 



70 ] 




[ 71 ] 




Chinese 

Qh ' ie?i- lung 

H ANGiNG VASE of white jade flecked 
with green. The three chains, the cen- 
tral one of which is attached to the 
cover, together with the ornamental 
suspension bar above, are cut from the 
same boulder as the vase. The difficul- 
ties in the execution of such a piece 
are obvious. Low-relief carving in the 
t’ao-t’ieh or so-called “mask” pattern 
ornaments the surface of this vase. 

Size; Vase, lo inches high 

★ 



[ 72 ] 



Chinese 

C^' ien-lung 



Incense burner of two interlaced 
phoenix birds. The soft, opaque, creamy- 
white ol the object gives it a distinctive 
appearance and the design and excel- 
lence of execution define it as a piece 
of exceptional merit. 



Size: 8j4 inches high 



Chinese 

Qh ' ien-lu?ig 

An especially tall ornamental 
VASE of white jade. The lack of matrix 
or anydiscoloration in the large boulder 
from which it was cut and the techni- 
cal excellence of the carving place this 
example among the best of its period. 

Size: 15^ hiches high 

★ 



Chinese 

Qh’’ ien-lung 



Incense set of white jade, beautifully 
translucent and skilfully carved in sharp, 
high relief. The small incense box and 
the vase for holding the fire tongs were 
undoubtedly cut from the same boulder 
as the brazier. 



Size : Largest piece, 5 inches high 




[ 79 ] 




Chinese 

Qh ' ien~lung 

Rock crystal vase of flawless quality, 
decorated in high relief with dragon, 
lions, rocks and flowers. In many places 
the material is undercut in full relief. 
The rings on the cover and the neck of 
the vase are entirely free so that a cord 
may be passed through them, thus hold- 
ing the cover in place. This flawless ex- 
ample would be difficult to match. 

Size: 9^ inches high 

★ 



[ 80 1 

















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BRONZES 

in the 

WORCESTER REED WARNER 
COLLECTION 





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Bronzes 




Copper, which was highly valued as a metal from the earliest 
time in China, under the name of Chin^ or metal, was alloyed in 
various proportions with tin, or hsi^ to form bronze. The ancient 
bronzes are divided by the national writers into two great classes, 
those belonging to the oldest dynasties of Hsia, Shang and Chou, 
and those of the Han, T’ang and later dynasties. Of the first but 
lew examples are left to us, but of such importance did the Chinese 
consider their work in bronze that many ot the objects cast and 
chiseled in the first centuries of the Christian era are preserved. 
Though some of the most interesting bronzes date from the time of 
the Han Dynasty they are classed as “ancient” and chiefly consist 
of sacrificial vessels. Of later date, superb pieces, including mirrors 
and war-drums, have been secured by collectors and it is significant 
that bronzes are among the remains of Chinese art most highly valued 
by occidentals, holding a second place only to porcelains. Thus there 
are many important examples to be found in American museums and 
private collections. 



1 85 ] 



Chinese 

Han 



Ancient sacrificial bronze vessel 
of exceptional interest, decorated with a 
large “mask” design on both sides and 
an upper and lower band oi convention- 
alized dragons. This piece is notable for 
its workmanship, its beauty of form and 
the rich color of its patina; also by reason 
of the inscription on the inside. 

Size: inches high 

★ 



86 



Chinese 

Qhou Type 

Bronze vessel decorated with “mask” 
design in relief and inlaid with gold 
and silver in the “recumbent silk-worm” 
motif. The form and decoration resem- 
ble those of the bronze vessels of pre- 
Christian times but the casting is later. 

Size: i6^ inches high 



[ 88 ] 




[ 89 1 




Chinese 

Qhou Type 

Bronze vessel with silver inlay, deco- 
rated with “mask” design and conven- 
tionalized birds. This very line example 
of casting is pre-Christian in type but 
the workmanship is of a later date. 



Size; 23^ inches high 







[ 91 ] 



Chinese 

Han 

S ACRiFiciAL BRONZE VESSEL dccorated 
with a single band of incised running 
scrolls and two animal heads in relief. 
At the sides are two knobs to which a 
bail was originally attached. The metal 
cover has been replaced by a wooden 
one mounted with an ancient piece of 
jade. The rich patina, red and green in 
color, is of remarkable brilliancy. This 
piece, also, has a most interesting in- 
scription on the inside. 

Size: 5^ inches high 



\ 92 ] 




[ 93 ] 



Chinese 

Han 



Bronze wine jar of graceful design, 
decorated with three parallel bands of 
minute geometrical pattern, placed at 
irregular distances on the otherwise 
plain surface. The cover has a snout 
for pouring and an eye to which was 
attached a chain extending to the loose 
ring on the handle. The surface color 
is reddish-brown flecked with green. 



Size: 14 inches high 




[ 95 ] 



Chinese 

Han 

Bronze war drum. Seven bands re- 
peatedat irregular intervals in nineteen 
concentric circles form an all-over 
pattern of unique interest. The six frog- 
like forms, symbolizing irrigation and 
agriculture, frequently ornament war- 
drums as in this case. This is an unusual 
specimen both for size and beauty of 
workmanship. 

Size: 34^ inches in diameter 



\ 96 ] 




[ 97 ] 



Chinese 

Han 



Bronze war drum. Detail of the 
illustration shown on page 97 and 
described on page 96. 



Size: inches in diameter 




I 99 ] 



Chinese 

Six ^Dynasties 

Bronze MiRROR,decorated in low relief 
with geometric and scroll patterns and 
conventionalized animal forms. This 
casting is comparable to some of the 
best from the Shan Fan, or Imperial 
F'oundry. 

Size: 6 inches in diameter 



[ 1 




I O I 






Chinese 



Bronze bell, decorated with the “nip- 
ple” pattern and intermediate bands 
of scroll work. In form and decoration 
it resembles the ancient bells of the 
Chou Dynasty but the casting cannot 
be earlier than the Sung Dynasty. 

Size: inches high 

★ 



1 1 




[ '°3 j 




Chinese 

Han 



Sacrificial bronze vessel decorated 
with an upper and lower band of the 
“mask” design and a wide central band 
of the “nipple” pattern, each nipple 
surrounded by diamond forms. 



originally covered with gilt and used 
for sacrificial purposes. The lower part 
is decorated with the t’ao-t’ieh,or ogre, 
known as the “mask” design, the upper 
part with what resembles convention- 
alized palm leaves. 



Chinese 




Tripod libation bronze vessel. 



First — Size: 5J-| inches high 
Second — Size: io inches high 



[ I 



Korea 

K^rai Period 



Bronze bottle and vase with thin 
walls covered with beautiful blue-green 
patina. Both are prototypes of porcela- 
neous ware of identical form. 



Size: Bottle, i z7/^ inches high; vase, 1 1 ^ inches high 




[ '°7 ] 




Korean 

K^rai T^eriod 

Buddhist bronze triad, originally 
painted and gilded, small bits of which 
decoration are still visible. Though 
this triad is representative of a period 
decadent in Buddhist sculptural art, it 
possesses a charm that reveals a delicate 
touch and a true understanding of 
technique, if not of religious signifi- 
cance. 

Size; Length, zz inches 
Height including base, i6 inches 



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STONE SCULPTURES 

in the 



WORCESTER REED WARNER 
COLLECTION 




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Stone Sculptures 




The earliest carved stones in China are undoubtedly the inscribed 
and low-relief carved tablets, historical in their nature, as well as 
the famous drums of the Chou Dynasty. Buddhism was first heard 
of in China after the return of the Ambassador Chang Ch’ien from 
Central Asia, in b.c. 12 6, and was not made an official religion until 
nearly two centuries later, in a.d. 67, under the Emperor Ming Ti. 
Most notable, perhaps, of the later Buddhist sculptures, are those 
of the grottoes of Lung Men, based largely upon those of Yun-Kang, 
which, in turn, obtained its models from Gandhara, through Turkic 
families. The oldest image in Lung Men is that in honor of a priest 
named Fah Seng and is dated a.d. 503, while a tablet nearby was 
erected by the Empress Wu of the T’ang Dynasty. The sculptured 
figures of this dynasty,indeed,are the last examples of stone sculpture 
as a great art, though as late as the eighteenth century the Emperor 
Ch’ien-lung erected the famous marble stupa of Pai-T’a Sen with 
its elaborate sculptures. 



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Chinese 

T' a ng 

Life-size figure of buddha, in 
white marble, seated on a lotus pedes- 
tal. The pedestal is decorated top and 
bottom with a lotus petal design; the 
six-sided drum, with priestly figures. 
Work of the Tenth Century. 



Size; 68^ inches high over all; pedestal, 26 inches high 




[ "5 ] 




Chinese 

T'ang 



Small stone head. The tiny figure 
of Amida in the head-dress defines this 
Buddhist deity as Kwan-yin, the all- 
merciful God. 

Size: 9^ inches high 



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Chinese 

T'ang 

Stone head, broken from a life-size 
statue of a Buddhist deity. It is charac- 
teristically of the Golden Age of Chinese 
Art. 

Size : i 8 inches high 



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Chinese 

Six ^Dynasties 

Stone head, a little over life-size, 
broken off the solid rock wall on which 
it was carved. Large statues carved in 
situ were a part of the interior decora- 
tion of the ancient Buddhist caves of 
China. A famous site for caves and 
carvings of this sort was at Lung Men, 
in Shensi Province, from which this 
example may have come. 

Size: i 5 inches high 



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JAPANESE CARVED WOOD 
CRYSTAL AND BRONZE PIECES 

in the 

WORCESTER REED WARNER 
COLLECTION 




Japanese 

Sixteenth or Seventeenth Qentury 

W OODEN FIGURE OF DAINICHI, the 
Illuminated One, seated on a lotus pedes- 
tal. Theperforated metal crown and the 
breast ornament are splendid examples 
of metal work of an even earlier date. 

Size: Figure, inches high; bi inches over all 



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Japanese 

Eighteenth Qentury 

Bronze vase designed for ikebajiag 
or Japanese flower-arrangement, is re- 
markable for its workmanship. The 
vase is supported by a dragon, boldly 
wrought, while a second dragon coils 
around and pierces through the surface, 
reappearing on the other side. The 
piece is signed by Senin, an artist of 
great repute. 

★ 



[ '26 ] 



Japanese 

<^Moder?^ 

Five-inch crystal ball on a beauti- 
fully wrought mounting of wave and 
dragon design in silver and bronze, 
respectively. 




[ ‘29 ] 





Ch INESE 

Small panels of ancient wood carv- 
ing set into four modern frames. These 
perforated panels, assembled from an 
old cabinet, bear traces of color and 
gold still adding to their charm. Much 
of the carving is in three planes. 

Size: Each panel, 12 inches wide 

★ 



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Ch INESE AND Ko REAN 



Exhibition case of pottery in the 
Cleveland Museum of Art, Worcester 
Reed Warner Collection, Several of 
these pieces are illustrated individually 
on preceding pages. 



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[ '33 ] 



Chinese Porcelains 
AND Jades 

Exhibition case in the home of 
Worcester Reed Warner, at Tarrytown, 
New York. Several of these pieces are 
illustrated individually on preceding 
pages. 



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f ‘35 ] 





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